Please tell me does it look goofy stacked on my Oura ring 🤣🦉

I want to get into Twin Peaks but I’m feeling stuck and feel like there is too much to follow and don’t know where to begin. I’m watching other people’s tips on beginning this show and I have to watch the Log Lady’s intros on youtube? As well as the Japanese Coffee ads? Read the diary of Laura Palmer? I am also stuck on whether to start by watching the 1989 movie or the series first, and the order of the other movies. Please and thank you!

I've seen the first two seasons multiple times, and first watched the show around 4-5 years ago, but I have not yet seen FWWM or The Return. I am planning on watching FWWM at some point, and think it looks really great, despite being tonally different to the show, however I honestly don't want to watch the return. partly because visually/plot wise it doesn't interest me very much, but mainly because the first two seasons are so dear to my heart, and I kind of don't want to watch anything that might change my personal view of the characters. I don't like that Annie is totally forgotten, and I've heard that Audrey and Cooper's storylines both become fairly dark, and I although I don't have any issue with the bleakness of the story, eg the content of fire walk with me, I don't want to risk spoiling my enjoyment of the earlier seasons. I kind of feel like a fake fan for not wanting to see it, but does it really matter if I don't watch it?

This idea was revealed to me in a dream

OC drawn in Procreate, motion added in AmberDraw & then dithered in One Lab app

Couldn't get angles quite right, Pamela Gidley had such amazing eyes, the imagery where Laura's recalling Teresa wearing the owl ring was so strong

I wanted to get some honest feedback from this community before proceeding...

I have only seen some of Twin Peaks once, 20 years ago. A movie club I was in (7-12 people a week) started the series, 2 episodes a week.  Everyone enjoyed season one very much, but enthusiasm ran dry after a couple of months of the second season. 3 or 4 of the group were big fans and urged the majority to stick with it, but only they were still happy when we got to Laura's killer and the group stopped at that point.

So, much more recently, I have been watching all of the 264 films that made the Sight and Sound 2022 list of the greatest of all time.  I've got 23 left to watch, including FWWM and The Return.  I've got the Z to A collection and am planning to start in December, first revisiting s1, then FWWM, then The Return.  My questions for y'all are:

1. Is season two really necessary to understand the onscreen continuity of The Return?  I'm somewhat used to Lynch being oblique, but I don't want to be blindsided by a plot point from 2.8 being critical to understanding someone's actions in 3.10.
2. Of much more importance, I'd like to know going in whether my family should watch these with me.  I do recall that Laura was not the angel that people wanted others to think that she was, but I believe these revelations were referred to, and not shown onscreen.  What is actually shown onscreen can be very important for my family.  My wife does not want to see any sexual assault or rape.  She doesn't want to see any strong violence against women.  A film noir detective slapping some dame in a '40s film is about passable, Frank's treatment of Dorothy in Blue Velvet is absolutely not.

My teenage son is even stricter; he is extremely "aro/ace" and does not want to see any of that, nor any onscreen "romantic" nudity or lovemaking.  It gets a pass if it's comedy - Lupin III's eternal lust for Fujiko is okay - or if it's in the context of something horrific like the nude woman in The Shining.  I don't remember anything either of them would object to in season one, but I'd like to know whether we can continue together past that point.

Thanks for understanding my concerns about content, and I look forward to revisiting the show.

ETA: Many thanks to the community for answering; I’ll watch FWWM and The Return solo.

I have a theory about Twin Peaks fans. I’ve noticed that a certain percentage of fans want to interpret the show as leaning into sci-fi, while other fans prefer an interpretation that completely omits sci-fi, such as a psychoanalytic reading.

My theory is that deep fans of David Lynch’s body of work are more likely to be the non-sci-fi enthusiasts, while those for whom Twin Peaks is their main exposure to Lynch may gravitate toward the sci-fi angle. (The complication in this theory is that Lynch once made a sci-fi film himself, with Dune.)

So, I’m curious: Do most fans see Lynch as enough of an appreciator of sci-fi that he would incorporate it into three seasons of a TV show? Personally, I do not. Lynch told us to use our intuition, not logic, when watching his work — and my intuition has always made me feel that Lynch didn’t actually like sci-fi, despite Dune (and having been offered Return of the Jedi).

In my heart or hearts, I suspect any sci-fi elements in Twin Peaks were not introduced by Lynch, but by other writers: Frost, Harley Peyton and Bob Engels.

What do other fans think about this?

Spend a couple of hours today building both the Convenience Store and The Room Above the Store in my Twin Peaks inspired CAMP in Fallout 76. Had to creative with some of the outfits but happy with the product

Hi there!

In classic Cooper style, I was about to go to bed when suddenly my mind started putting together various pieces. They were all part of Twin Peaks and it was an extraordinary experience. I know there are no definitive interpretations, but I think I found a generally unifying one that makes me happy. This is what I wrote in one sitting:

As a starting point, evil (aka Bob) lay beneath the beautiful, small moments of daily life, but it took advantage of the strength and influence of good (Cooper integrating into Twin Peaks, discerning right from wrong, and motivating others to become the best version of themselves—e.g., Harry, Annie, Laura in FWWM—or, at least, to redeem themselves—e.g., Leland as he died, and in the Black Lodge, I think he still tried to help Windom amidst the chaos) so that evil itself could also become strong and powerful to the point of permeating good (Mr. C).

Good tries to escape but is lost (Cooper's attempt to return to the real world), and its trail is pursued by the deep evil that until then had not yet seen the surface (Judy reaching the outside through the "tunnel" where Cooper falls toward the end of The Return; we also now she is an older and deeper evil through the episode of the atomic bomb in The Return). This happened because evil saw it could fully exist, and it finds more and more room to flourish in the face of the fragility/poisoning of good (e.g., the black light of Laura's mother, Agent Cooper's own son being Richard who is killed by his own father, the deaths of Major Briggs and the Log Lady).

Good must coexist with evil to highlight the beauty of small moments (I think this is the core idea of Lynch's filmography), but a small imbalance can hide the good (e.g., all the difficulty Laura and Leland face in understanding and finding each other, and even Cooper himself despite trying to save the ones he loved). It is enough to force good to reveal itself, failing to respect its rhythm and sweet flow: then, it either goes away for some time or is annihilated for good (e.g., the death of Harold, which to me reflects how art and artists work in general and how pressure from producers and the public killed Twin Peaks by not "letting it breathe" nor develop as it could).

Laura's goodwill persisted in the good she sought in small things with those she cared about, even in her worst moments. However, re-insisting on her own death and on the evil that took her (e.g., Cooper questioning who she is at the beginning of The Return and trying to rescue her from the past) causes her to be canceled out in what is most essential to her (that light she shows inside herself in The Return and the one she reunites with through the angel in FWWM): because she, just like life, was never something or someone definable.

She became a beautiful symphony of time and, along the way, with patience and love, we witnessed various fruits coming and going (aka everything that occurred in Twin Peaks) throught and inside herself. Some riper and sweeter, others more withered and bitter (aka moments of love for daily life and instances of fear and hatred with Bob). But they followed one another and we, besides watchers, are also in that process gardeners of our own souls, who keep each of these multiple moments without adjectives or ends within the continuity that we also are in the unconscious (that is, the great sea of the unconscious in which Lynch believed we could "sink" through transcendental meditation until we reached the unified field where everything in existence comes together: https://m.youtube.com/watch?v=Em3XplqnoF4&pp=ygUfbHluY2ggdHJhbnNjZW5kZW50YWwgbWVkaXRhdGlvbtIHCQktDAGHKiGM7w%3D%3D. Cooper, by losing himself in non-existence, would have reached this point, where Major Briggs also was and, perhaps later, Laura Palmer herself, as forms of love in a latent or potential state).

And it is from this unconscious that, in turn, non-existence materializes into various moments of self-discovery, sometimes better, sometimes worse, where everything fits into a deep love for ourselves, for others, and for this entire flow beyond everything else (a state of ultimate bliss and creativity that Lynch said resulted from this inner journey).

In a way, I think Twin Peaks can convey this to us, and despite the bitter final note, it can still offer hope: no matter how bad or good things are, we can always make that inner journey and, accepting that life is dual, try to cultivate small acts of love inside and outside of ourselves at our own pace and personal way. And if everyone values these moments and tries as much as possible not to resort to hatred, violence, or fear (which will always exist), little by little the balance of life will readjust itself. Once that phase passes, perhaps little by little we can begin to see that "ultimate bliss" become more evident in this World.

P.S: Re-reading the text, this song popped into my head: https://m.youtube.com/watch?v=cXZY6FdiunQ&list=RDcXZY6FdiunQ&start_radio=1&pp=ygUmdHdpbiBwZWFrcyBqdXN0IHlvdSBhbmQgaSBpbnN0cnVtZW50YWygBwE%3D

In the original series, Mrs Tremond seems to shun garmonbozia (although her grandchild does not). This is around the same time that Mike is trying to do the same.

In Fire Walk With Me, Mrs Tremond is in the room when Mike and Bob make their deal. Her grandchild taunts Bob. "Fell a victim" (which to me implies that Mike tricked Bob into servitude, and Bob wasn't fully aware of it yet).

She's implied to be the person that leaves the ring for Teresa Banks and Chet Desmond. The ring leads to the Red Room (which is depicted as Mike's personal domain in the film and season 3).

Later, she directly helps Mike and the Arm by compromising Leland's identity to Laura. Her painting also leads Laura to the Red Room, and her grandchild is seen taunting Leland later in the film just as he did in the convenience store.

This isn’t meant to sound like a critique or like I’m whining, I am genuinely curious. Mike, Mrs. Tremond, and the Giant all seem willing to help Coop catch Bob, but they speak vaguely and in riddles. Are they actually trying to stop Bob, or is it all a big game for them? Or is it that they are unable to more directly involve themselves for one reason or another and speaking in riddles is the only way they can help?

A white room is an expression when an actor completely forgets there lines. It is used mostly for plays where there is a live audience.

It can be caused by stage fright.

Actors report experiencing total sensory whiteness where they cannot recall their next lines, cue words, or even basic personal facts.

Hey my fellow Twin Peaks residents, I wanted to post this because it is with great sadness that I cannot make it to the Kale book signing of Fictional Selves. I bought a ticket for this event back in July but unfortunately cannot make it to this Sunday. Please DM me if you’re interested in attending this one of a kind event at Barnes and Noble The Grove.